Concerto in Brazilian Forms
Track Listings
| 1. Modinha, Tempo di batuque, Concerto in Brazilian Forms for piano and orchestra (Hekel Tavares/Felicja Blumental) | ||
| 2. Ponteio, Largo, Concerto in Brazilian Forms for piano and orchestra (Hekel Tavares/Felicja Blumental) | ||
| 3. Maracatu, Lento ma vigoroso, Concerto in Brazilian Forms for piano and orchestra (Hekel Tavares/Felicja Blumental) | ||
| 4. Spanish Rhapsody Op 70, (Isaac Albeniz, Felicja Blunental (piano), Torino Orchestra, cond. Alberto Zedda) | ||
| 5. Allegro ma non troppo, Piano Concerto No 1 op 78, (Isaac Albeniz, Felicja Blunental (piano), Torino Orchestra, cond. Alberto Zedda) | ||
| 6. Reverie e Scherzo, Piano Concerto No 1 op 78, (Isaac Albeniz, Felicja Blunental (piano), Torino Orchestra, cond. Alberto Zedda) | ||
| 7. Allegro, Piano Concerto No 1 op 78, (Isaac Albeniz, Felicja Blunental (piano), Torino Orchestra, cond. Alberto Zedda) |
Editorial Reviews Tavares wrote some 100 songs of which Casa de caboclo (published in 1928) was his biggest success. Between 1949 and 1953 Tavares travelled throughout Brazil collecting folk material for use in his own works. This research found expression in works such as his tone poem O Anhanguera which calls for Tucuna Indian percussion instruments. The Concerto in Brazilian Forms for Piano and Orchestra is a brilliant, evocative, richly coloured and full-blooded work. The juxtaposition of elemental, sometimes barbaric, rhythms and long, expressive melodic paragraphs gives the concerto a spice and piquancy of the sort that could only grow out of its own particular background. The musical skill and mature imagination of Hekel Tavares weld the different ingredients into a thoroughly convincing whole. Written in 1895 as an orchestral composition, the Spanish Rhapsody was later rescored by Albeniz for solo piano and orchestra and has become known as the second piano concerto. It is also popular as a piece for solo piano. As in much of Albeniz' piano writing, the solo instrument is called on to reproduce percussive rhythmic effects which suggest guitars and castanets. Albeniz’ first piano concerto, Concierto fantastico is certainly one of his most ambitious projects and perhaps one of his finest achievements. Described as ‘Chopinesque’, it was written in 1886.
Andy Walker, Classical Music UK, July 3, 2002
A wonderful new addition to the piano repertoire.
Album Description
Hekel Tavares (1896 – 1969) was the son of a wealthly plantation owner and lived close to the land and people of Brazil. He cared more for the evocation of the spirit of national folksong and dance than with their use as melodic material.
Concerto in Brazilian Forms, Music, Hekel Tavares, Anatole Fistoulari, London Symphony Orchestra, Felicja Blumental
Music Review:
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